Comparative Technology Transfer and Society最新文献

{"title":"Media Ecology and Cultural Climate Change","authors":"Liz Flyntz","doi":"10.1525/aft.2020.471005","DOIUrl":"https://doi.org/10.1525/aft.2020.471005","url":null,"abstract":"In 1970 a group of young radicals moved out of their SoHo loft and to Maple Tree Farm, a rambling 27-room boarding house in Lanesville, a tiny town in Upstate New York. They called themselves the Videofreex, and they operated as a collective, collaborative media-production unit.\u0000\u0000A year before this exodus from New York City, in 1969, two future Freex, David Cort and Parry Teasdale, met at the Woodstock Music Festival. They immediately recognized each other as fellow travelers by virtue of the fact that they both had early video cameras.\u0000\u0000\u0000\u0000IMAGE 1. \u0000Screenshot of The Now Project CBS TV by Videofreex being screened in December 1969 at the Prince Street studio (1969/2019); courtesy Videofreex.\u0000\u0000\u0000\u0000While living in the loft, owned by Videofreex Mary Curtis Ratcliffe, the group had been hosting all night parties and video screenings where they would play back video to each other or an array of amazed audience members. They also managed to be hired by CBS to make a “youth culture” video documentary series titled Subject to Change (1969). The Freex spent several months in production, collecting prescient, electrifying footage of protests, arrests, Abbie Hoffman saying “fuck,” Black Panthers discussing police violence, and psychedelic performance art. CBS had wanted something more au courant to take the place of the S mothers Brothers Comedy Hour , which had recently been cancelled amid much controversy over antiwar content. Perhaps unsurprisingly, the even more controversial (and certainly far more weird) Subject to Change show was cancelled before it was even aired. However, the Freex were allowed to keep equipment and their initial payments from the show, which outfitted them nicely for their subsequent …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"103 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116490627","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Visible Things Unseen","authors":"Reece Auguiste","doi":"10.1525/aft.2020.471007","DOIUrl":"https://doi.org/10.1525/aft.2020.471007","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"2007 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125577445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review: The Digital Plenitude: The Decline of Elite Culture and the Rise of New Media, by Jay David Bolter","authors":"S. Amon","doi":"10.1525/aft.2020.471015","DOIUrl":"https://doi.org/10.1525/aft.2020.471015","url":null,"abstract":"","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115601707","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review: Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America, by Matthew Fox-Amato","authors":"L. Mensah","doi":"10.1525/aft.2019.464007","DOIUrl":"https://doi.org/10.1525/aft.2019.464007","url":null,"abstract":"Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America , by Matthew Fox-Amato. Oxford University Press, 2019. 360 pp./$39.95 (hb).\u0000\u0000\u0000\u0000American photography's role in shaping nineteenth-century attitudes around slavery has been explored in a range of academic disciplines, including art history, American studies, African American studies, women's and gender studies, and literary studies. The photograph has been studied as a valuable discursive object from which we can glean information about how enslaved black people were viewed by the state, violated at the hands of slave-owning families, and mobilized for consensus purposes by Northern abolitionists prior to the Civil War. Ex-slaves such as Frederick Douglass, Sojourner Truth, and Harriet Tubman realized the political stakes of image-making in the production, circulation, and formation of more liberating portraits of black identity. Provided that nineteenth-century photography illuminates so clearly the politics at play in both the defense of and protest against the United States slave economy, its absence in American historical scholarship is particularly curious.\u0000\u0000Matthew Fox-Amato works to address this gap in Exposing Slavery: Photography, Human Bondage, and the Birth of Modern Visual Politics in America , which not only historicizes the rise of the daguerreotype in the US during American slavery, but takes on the task of telling a more expansive account of nineteenth-century photographic culture in the US. This account argues that the South played a more active role in the production of slave photography than previously articulated in nineteenth-century scholarship on US photographic culture. Through extensive archival research, Fox-Amato pieces together, for instance, how central daguerreotypes were for slaveholders, who would commission family portrait-style images of their slaves. These commissioned photographs reveal the paradoxical perception of slaves by their masters, who viewed them as property yet “framed” …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124846333","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Moving Image Installation, Dance, and Resistance at the 2019 Venice Biennale","authors":"Annie Dell'aria","doi":"10.1525/aft.2019.464001","DOIUrl":"https://doi.org/10.1525/aft.2019.464001","url":null,"abstract":"IMAGE 1. \u0000Installation view of Moving Backwards (2019) by Pauline Boudry and Renate Lorenz in the Swiss Pavilion at the Venice Biennale 2019; courtesy the artists; photograph by Annik Wetter.\u0000\u0000\u0000\u0000Can dancing be a survival strategy? Such is the question posed by artist Mirkan Deniz in her examination of a Kurdish “guerrilla dance” as a site of resistance. Deniz's query was included in the series of letters to the visitor distributed along with Pauline Boudry and Renate Lorenz's film installation Moving Backwards (2019) in the Swiss Pavilion at this year's Venice Biennale (May 11–November 24, 2019). The urgency of our present moment permeated much of the sprawling biennial, grouped loosely under the apocryphal proverb and curse “May You Live In Interesting Times.” Artists tackled climate catastrophe, rising right-wing nationalism and authoritarianism, refugee crises, and other pressing social and political issues in a range of media and with a variety of attitudes.\u0000\u0000Moving image installation invites surrender to a different temporality amid the fast-paced tempo of both these “interesting times” and the packed itinerary of biennale tourists, and it figured prominently in the group show curated by Ralph Rugoff at the Giardini and Arsenale locations as well as in numerous pavilions and collateral events scattered throughout the city. Of the twenty-nine national pavilions of the Giardini—the Biennale's original location and where national pavilions first emerged in the beginning of the twentieth century—eleven prominently featured moving image artworks, and these ranged widely in both quality and tone. Laure Prouvost's beautiful, frenetic, and surreal journey film Deep See Blue Surrounding You (2019) and Larissa Sansour's tense two-channel take on the psychological sci-fi thriller in Heirloom …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114063745","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Poetics of Carrie Mae Weems's Documentary Portraits Past and Present","authors":"Andrea Liss","doi":"10.1525/aft.2019.464005","DOIUrl":"https://doi.org/10.1525/aft.2019.464005","url":null,"abstract":"James Baldwin's novel If Beale Street Could Talk (1974) takes the reader through a saga of injustice that finds a young black man in prison near Harlem in the 1970s. This is a love story—the lustful, playful kind—between Fony and Tish, intertwined with Tish's family's trust, which strives to keep the couple strong throughout his incarceration and her pregnancy. This is a devastating portrayal of a family that is armed with irony, grace, and intelligence but that still cannot protect the couple from the hate stacked against them. The young woman's narrative voice conveys the terror and the tenderness.\u0000\u0000The groans of painful histories, the sighs of joyful family communion, and the acute witnessings of a woman in Baldwin's novel are akin to the voices that resonate throughout Carrie Mae Weems's incisive photographic and multimedia work from the mid-1980s to the end of this current decade. My attraction to the intertwining trajectories of Weems's exquisite work compels me to consider the poetic strategies within her expansive documentary practice. Looking back to consummate projects that address social injustice and cultural violence primarily directed toward African American people allows an investigation into Weems's ingenious reformulations of the traditional means of documentary photography. Her rethinking gives renewed life to the core vitality of the genre: to teach, to warn, and to mourn. Weems's early approaches to documentary photographic strategies began in 1984, working from the early twentieth-century black Harlem photographers' tradition …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"13 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125080292","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review: DEMOCRACIA/ORDER","authors":"Yoli Terziyska","doi":"10.1525/aft.2019.464006","DOIUrl":"https://doi.org/10.1525/aft.2019.464006","url":null,"abstract":"DEMOCRACIA/ORDER : Station Museum of Contemporary Art. Houston, Texas: April 27–August 18, 2019.\u0000\u0000DEMOCRACIA/ORDER was a solo exhibition that took place earlier this year at the Station Museum of Contemporary Art in Houston, Texas. It featured two series by the Spanish art collective DEMOCRACIA, formed by artists Ivan Lopez and Pablo Espana. The two artists have collaborated since 2006 and have consistently created projects that challenge the sociopolitical status quo. Their practice's hard-left approach aims to confront their audiences with uncomfortable topics such as the failure of democracy, social inequality, mindless consumerism, and the state as an apparatus of oppression, while pointing to our indolent complacency in regard to these issues.\u0000\u0000One of the series in the exhibition included a three-part operatic film titled ORDER (2018), accompanied by an installation that presented photographs, video stills, placards, and other ephemera borrowed from the performances captured in each part of the film. ORDER was shown alongside works from the installation We Protect You From Yourselves (2013–18). The exhibition sought to condemn contemporary capitalism, socioeconomic inequalities, and the failure of democratic politics.\u0000\u0000The film was shown in a dark room separated by a curtain from the We Protect You From Yourselves installation as well as from the other components of the ORDER installation. Before entering the screening area, viewers passed by the film's relics laid out on the floor of the exhibit space, or mounted in box frames on the museum's walls alongside film stills and photographic documentation. The curatorial choice to present the series in …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126783303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Art Basel 2019","authors":"Julia Bradshaw","doi":"10.1525/aft.2019.464002","DOIUrl":"https://doi.org/10.1525/aft.2019.464002","url":null,"abstract":"The fiftieth iteration of Art Basel 2019 attracted art collectors and enthusiasts to the city for Art Basel, Liste Art Fair, and Photo Basel alongside other art happenings for one week in June. Located in Switzerland close to the borders of France and Germany, Basel is a walkable city with an efficient light-rail system ensuring that moving between the art fairs, the historical city, and other cultural institutions is easy. During the art fair, every major art institution in the city hosts noteworthy exhibitions, and events spill over into all areas of the city. The integration of the historic city into the fair is aided by the Art Basel Parcours walking tour of off-site installations. These installations were curated by Samuel Leuenberger, an independent curator who runs the SALTS exhibition space in Birsfelden, Switzerland, and the program provided a reason to explore the city and visit the twenty site-specific installations and performances that take place inside stores, in empty venues, and on the streets of Basel.\u0000\u0000\u0000\u0000IMAGE 1. \u0000Installation view of Open Secret (2018) by Andrea Bowers at Art Basel in Basel 2019, presented by kaufmann repetto, Andrew Kreps Gallery, Susanne Vielmetter Los Angeles Projects; photograph © Art Basel; courtesy Art Basel.\u0000\u0000\u0000\u0000The city's cultural institutions also had major exhibitions on view. Seeing Rebecca Horn's performative videos and mechanical spatial installations at Museum Tinguely seemed very fitting. The Kunstmuseum Basel hosted an exhibition of William Kentridge's work, showcasing early graphic art and films from the 1980s to more recent video productions; these artworks filled more than three floors of the museum. It was therefore not surprising that Kentridge was the highlighted speaker for Art Basel's Conversations series of discussions.\u0000\u0000Here he spoke alongside Josef Helfenstein, …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"65 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122535528","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Review: The Social Photo: On Photography and Social Media, by Nathan Jurgenson","authors":"S. Amon","doi":"10.1525/aft.2019.464008","DOIUrl":"https://doi.org/10.1525/aft.2019.464008","url":null,"abstract":"The Social Photo: On Photography and Social Media , by Nathan Jurgenson. Verso, 2019. 144 pp./$19.95 (sb).\u0000\u0000\u0000\u0000Snapchat sociologist Nathan Jurgenson's new book, The Social Photo: On Photography and Social Media , is a sprawling consideration of social media as a new photographic ecosystem. Jurgenson crystallizes a working definition of the “social photo” that works against the widespread dismissal of contemporary media culture as socially invalid and inauthentic. It also delineates the replacement of photographic nostalgia with ephemerality and reconsiders documentary vision in light of the social media feed. Jurgenson states that he aims “to sensitize more than convince,” and The Social Photo does ultimately fall short of any unified theory of social media photography (11). It skirts both the social-scientific evidence and theoretical depth that could have made a more meaningful contribution to the literature, but it seeds a rethinking of mass photography and does so fashionably.\u0000\u0000Jurgenson ascribes three primary qualities to social photography, which he describes as “a type of photography made ubiquitous by networked, digital sharing” (8). It prioritizes communication over aesthetics; its images are properly understood in streams, rather than singly; and its ephemerality is key. Social photography encompasses cultural practices that surpass art history and artworld criticism, and Jurgenson makes a useful case that the presuppositions of aesthetic supremacy, technical importance, and visual originality are not productive measures of …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"111 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124905322","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Continuing Deluge","authors":"Scott Macdonald","doi":"10.1525/aft.2019.464004","DOIUrl":"https://doi.org/10.1525/aft.2019.464004","url":null,"abstract":"> I once knew a man who invented his own language. He would give directions to strangers in a fictional tongue, relentlessly waving his arms and pointing as he ranted. He wore a fur coat that hung to his ankles, but only on the hottest days of summer. I remember a time when he carried around a very large papier mâche rat that he had found. For a week or more he paraded up and down the street with this giant dead rodent over one shoulder and a baseball bat over the other, shouting, “I finally got that son of a bitch; I finally got him.” He could be heard in the bank asking for a withdrawal of fifty thousand nickels. His car was equipped with a series of mirrors placed on the front seat and the dashboard, which allowed him to drive down the street using the mirrors as a visual guide, giving the appearance of a car moving along without a driver. He called himself and everyone else Doctor Wobble Dobble. The man was my neighbor and a daily presence in my childhood. His influence had a profound impact on my becoming an artist.\u0000> \u0000> —John Knecht, program notes on The Wobble Dobble Series in Six Parts (2000)\u0000Media artist John Knecht's work, and particularly his recent projects, made for flat-screen gallery installation and digital projection, has been finding an expanding audience on Facebook, as well as in galleries and on …","PeriodicalId":443446,"journal":{"name":"Comparative Technology Transfer and Society","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130262445","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}